ABSTRACT
We know what plays the humanists performed. We speculate on the scenic space for their plays. We know the premises in which their theatre possibilities were worked out and realized. But to evaluate the specific contribution of their acting methods to the changes in value and in identity in Italian and European theatre between the early fifteenth century and the early sixteenth century, we must ask ourselves: what did it mean to act, for those who pursued the theatre or studied its rebirth?
